The exhibition features Miró’s bronze sculptures from the years 1973 to 1977 and a selection of works on paper from the years 1973 to 1981.

Until the last years of his life, Miró has created unclassifiable, magical works, like the sculptures he made while ‘upcycling’ objects. His sculptures are at once primitive and playful, and his works on paper witness of an intense freedom and an ever-renewed poetry.

The art critic and founder of Cahiers d’Art, Christian Zervos never stopped following and defending the work of this unclassifiable artist, ‘the most lyrical painter of his time’ and ‘the most important post cubist artist.’ Miró is indeed present in Cahiers d’Art from the first year of its existence, 1926, until the last, 1960. He drew many covers, and his famous stencil Help Spain! (Aidez l’Espagne!) was published in the No. 4-5 of the 1937 issue of the Cahiers d’Artrevue.

In parallel with the exhibition, Cahiers d’Art is happy to announce the new issue of the revue, dedicated to the artist. Under the direction of Rémi Labrusse, it revisits the relationship between Miró and Cahiers d’Art through an anthology of the most beautiful texts published in the revue. It also provides insight into the great originality of Miró’s primitivism and a discovery of two collections of the artist: the objects that filled his studio, and the unpublished paintings that he added into certain books in his library. An essay by Élisa Sclaunick is dedicated to Miró’s unpublished correspondence with writer Jacques Dupin. A text by Jean-Louis Cohen pays tribute to the architect José-Luis Sert who created the buildings of the Palma studio and the Barcelona Foundation, while Rosa Maria Mallet returns to the history of the Miró Foundation. Lastly, four artists complete the revue with a contemporary counterpoint: the Spanish Miquel Barceló, the English Helen Marten, the South Korean Koo Jong A and the Czech Karel Malich.